The 1980s were the last decade in the history of the Bayreuth Festival in which traditional productions of all the canon operas were available, and happily most of them filmed on video: Until 1985, the Holländer was on staged in a version by Harry Kupfer that still makes the work's plot recognizable. Between 1985 and 1995, Tannhäuser was presented in the Neu-Bayreuth style by Wolfgang Wagner, the composer's grandson, who maintained the classical aesthetics despite the simplicity of the sets. His also equally classical production of Parsifal was on programmed in 1980 and 1981; as well as his legendary Meistersinger staging between 1981 and 1988, the most traditional in the Festival since 1952. In 1987, a enchanting, beautiful Lohengrin was premiered, directed by Werner Herzog, the famous filmmaker, in a production that was seen until 1993. In 1989, Wolfgang Wagner would premiere a minimalist production of Parsifal, but the aesthetics of the story would still be recognizable. Between 1983 and 1986, the last traditional Ring at Bayreuth Festival would be staged, directed by Peter Hall, with Georg Solti conducting the orchestra the first year, which however was a big flop and was not filmed. Finally, between 1981 and 1987, a production of Tristan und Isolde was seen, orchestrally conducted by Daniel Barenboim, which marked the beginning of his 18-year collaboration with the festival, and staged by Jean-Pierre Ponnelle , in one of the most beautiful Tristans ever performed there. In October 1983, this production was filmed at the Festspielhaus, without an audience, with the same cast from the premiere two years earlier.
The result is not only the best of the very few classical productions of this opera on video, but also one of the most beautiful and romantic ever made of this work. Ponnelle does not follow strictly Wagner's stage directions, but creates a traditional setting that allows the story to be followed still faithfully. The performance is full of lyricism, melancholy, and beauty, imbuing the characters with youth, and with a strong presence of nature, which is here an omnipresent observer. For this filming, shots are used to display what would not be so easily resolved on stage, but in a filming session reinforces the director's vision in the third act.
During the prelude, close-ups of the sea surrounding rocks, while a gray sky appears in the background, are shown. When the curtain opens, a rocky platform with steps reminiscent of a ship appears, presided over by a huge sail. Isolde stands in the middle of the stage, a circle surrounded by the ship's structure, wearing a crown on her head and a huge, thick cloak. This cloak represents Isolde's position as future queen, promised to King Marke, but which she does not desire because it oppresses her. Behind the sail are the chorus of sailors, Tristan and Kurwenal. This circular center is Isolde's world, which only her servant Brangäne and then Tristan can access. When they drink the love potion, their ecstasy is visible, giving rise to an unbridled passion, while the sail rises, showing the chorus, and finally Marke arrives, before whom everyone bows, including Isolde, whose crown falls.
The second act is one of the most beautiful images ever filmed in Bayreuth. A leafy tree dominates the entire stage, and lights emerge from its countless branches, as if recreating a starry sky. At its feet, a greenish lawn with flowers and a small puddle-shaped pond extend across the stage. During the duet between Isolde and Brangäne, an intense red light is seen, as if at dusk, when the hunters' horns sound. During the long love duet, night falls, and the production becomes enchanting. At one point (during the duet "O sink hernieder, nacht der liebe") they approach the puddle, illuminating them, drinking from it. But after Brangäne's initial warning, night turns into day, until the very end, when Tristan is attacked by Melot.
The third act shows the most interesting changes, becoming the most challenging specially in this version. Tristan languishes on a small islet, accompanied by Kurwenal and an old shepherd, in a split-open tree trunk. The sea and a gray sky menacingly surround these three characters. For Ponnelle, Isolde's final visit is a hallucination of Tristan's, as is the rest of the denouement. In fact, when it is supposed tha her ship is approaching, Kurwenal actually orders the shepherd to play a cheerful melody to make him believe she's coming. This idea was very difficult to put into practice in the actual performances, but in this film it's easier: behind each of Isolde's interventions, close-ups of an exhausted and ailing Tristan are superimposed, and in the finale, we don't see her, neither Brangäne, Marke, nor his entourage: only Tristan dying, now in the arms of his faithful Kurwenal and the shepherd, as darkness falls. After this ending, it is hard to return to reality: the hero's death has been so painful, hopeless and lonely.
Wieland Wagner wanted a young leading couple for his production of this opera in the 1960s, but his search was unsuccessful, having to turn to the mature and imposing Wolfgang Windgassen and Birgit Nilsson, with the correspondingly legendary result. But Ponnelle, with a couple not much younger than their predecessors, manages to convey all the youth and freshness that Wieland could not. René Kollo and Johanna Meier, both in their 40s, manage to convey their character's portraits ad delightful young lovers not because of their characterizations but for their convincing performances. Likewise, the rest of the cast achieves a dynamic performance. Such a youthful and passionate love duet had rarely been seen, nor has Tristan's agony been so painful. The anxiety and sadness of the remaining characters has rarely been captured with such convincing atmosphere.
Daniel Barenboim has gone down in history as one of the greatest interpreters of this opera, which he has recorded numerous times. This is his first recording of it, at just 41 years old. Barenboim has been criticized as academic and uneven, but here one feels an energy and passion befitting his young age. His rendition of the work would mature in later recordings. Conducting the Bayreuth Festival Orchestra , he gives a performance at times passionate, at times majestic, and at others rather lyrical, tense in the first act, tender and dreamlike in the second, and elegiac in the third. During the preludes to the first and third acts, the orchestra sounds marvelous. The brass have moments of brilliance in the most tense moments of the first act, and in the final moments of Tristan in the third. The strings are also splendid and at times sound electrifying, recreating the moods reflected in the score. The Festival men's Choir sounds as good as ever.
René Kollo is one of the most important Wagnerian tenors of the last 50 years. The bar for singing this work has been set very high by Lorenz, Vinay, Windgassen, and even Spas Wenkoff (who sang the work in the actual 1983 performances) used to sing better, but Kollo delivers his best performance in this role. The Berliner tenor enjoyed a rapid, meteoric rise in the previous decade, and by the time he filmed this video, he had already sung all the great Wagnerian tenor roles. This took its toll, but here he comes across as decent. Of course, that "decent" performance would be acclaimed as referential today. His voice is not that of a robust Heldentenor, but rather that of a youthful tenor who successfully rises to the enormous task. His timbre is beautiful, but limited at other times, and there are even a couple of lost notes in the second act. However, in the terrible third act, he makes do with his limited resources, giving a convincing acting and musical performance with some impressive high notes.
The American soprano Johanna Meier (not to be confused with Waltraud Meier, the legendary German mezzo-soprano who would sing Isolde in the following decade) is a remarkable Isolde, vocally in perfect shape, with a voice that tends towards a lyrical tone, though at times it verges on a dramatic one. Like Kollo's, her performance is that of a delicate young woman rebelling against her imposed situation, rather than the energetic and imposing woman in other versions. Her performances in the third act are full of beauty.
The rest of the cast is a regular at the Bayreuth of that time, from this and other recordings: Hanna Schwarz is a Brangäne who also sounds more youthful than matronly, with a voice in its prime, displaying a beautiful timbre. Matti Salminen is also a Marke at his vocal best, with a powerful voice that nuances the disappointment and pain of his character. Hermann Becht is Kurwenal: at first he sounds too guttural and grotesque, more ideal for the role of Alberich he filmed with Boulez and continued to sing with Solti that year, but in the third act his voice sounds more noble. Robert Schunk stands out with a beautiful interpretation of the young sailor's voice, and more discreet as Melot. Helmut Pampuch is a well-sung shepherd, and Martin Egel delivers in his brief role as the steersman.
This DVD is the first choice for anyone who wants to see a Tristan and Isolde performed in a classic style, with somewhat period costumes and a traditional aesthetic; it's definitely the ideal introduction to the work. But it's also for anyone who wants to see a truly complete show, not only scenically but also musically. Such beauty should be seen at least once in a lifetime. In fact, a production like this, could be missed these days. Highly recommended.
No hay comentarios:
Publicar un comentario